She will turn heads with Tongues, and we would all do well to listen intently.

On balance, it’s what you’d expect from a Wavves record, hardly revelatory and moderately inconsistent, but packed full of reckless exuberance and fun, hyperkinetic jams to thrash around to that take only a couple of listens tops to get lodged firmly in your head.

Something about The Fellowship makes one want to listen to it again and again, but it’s not something that can be put to words, it needs to be experienced — just like a lifetime and the memories made in the process.

New Decade comes across as bleak, but it’s deliberately restrained; its meditations cut through the real sentiments of our confusing years with the sincerity of a haiku. Especially amidst isolation and the uncertainties of modernity, we are reminded of the power of self-expression.

Nine Types of Light sounds familiar, but it's a good familiar.

Surviving as they have, Hiatus Kaiyote sound livelier than before. Every inch of Mood Valiant drips with love and togetherness for the band, with no single contributor stealing the show for very long.

Despite the diversity of collaborators, the album does have parts that sounds a tad samey and perhaps certain sections could have been left out. However, Stardust is a victory lap for Brown capped off with “All4U”, featuring a selection of perfectly atmospheric sounds programmed by Dariacore creator Jane Remover and a relentless onslaught of words from hip-hop’s UNCexpected innovator.

Possibly, other songs and a different order might have made Double Infinity more cohesive, or logical. But then this would have removed its strange, slightly alien aura of zero gravity geometry.

The sound of Phenomenal Nature, too, is both fractured and coherent, as Jenkins has expanded from a simple guitar-bass-drums set up to include violins, saxophones, and synths in her compositions. At its best, all these instruments cohere into a delicate drone, a shimmering thing that sounds like an infinity pool: no edges, just a reflective surface.

Girls Names does not dwell on the dourness, but conquers and transforms it into a solace--a sound resulting from some hallucinatory fever like a Max Ernst painting, realizing the shadowy dimension parallel to this existence.

Fans of Yuck who are coming into Unreal hoping for and album as plentiful of hooks as that album might be slightly perturbed at first not to find anything as tight or punchy as something like “Get Away” or “The Wall,” but after spending time with the album you’ll find that each song possesses an airy, sing-songy hook that’s easy to latch onto.

It’s rare for an artist to be so bold and blatantly fighting their fears on a debut album, but Lady Dan’s bravery is what gives extra life and depth to her songs.

It’s not the greatest moment of Tudzin’s career – that moment is still to come. But, even at just 23 minutes, Free I.H is certainly her grandest statement to date.

The end result then, is the sound of Bird settling down, becoming comfortable with his music and letting it come off as natural, without losing the sense of enjoyment and the hypnotic dynamism of his core elements.

The combination of the two brings here some intriguing music that those wanting their musical genres strictly defined will hate, and those with a more daring minds wanting to explore will love.

GB City is a solid debut, proving Bass Drum of Death as capable agents of both the blues and garage traditions.

Best to sit back and bask in the confident warmth of a job well done.

It’s as carefully and intricately produced as anything the group has managed to date, but with a blinding vibrancy added to its tonal pallet and outlook.

While some may miss the utter, blistering, angular noise-scapes of past Autechre albums, be assured that this album is no less Autechre. Despite being, arguably, their most accessible album in over a decade, we are still left with a set of 10 tracks that are just as unpredictable and labyrinthine as ever, and a duo who is trying to work in a slightly different avenue.

While this record may not quite reach the highs of Set Yourself On Fire or even Heart for that matter, it's still a hell of an album that clearly and succinctly makes the case for the band's continued relevancy in an over-stuffed pop marketplace.

Although this may not be what all Sigur Rós fans were hoping for, standing on its own, Odin’s Raven Magic is a gorgeous, moving piece of neoclassical musicianship, performance, and composition.

Artistically, well, it skirts as close (and intelligently) to blasphemy as a 21st century project could – and Portrayal of Guilt indulge in this act with glee and artistic sensitivity. That it may remain a ‘minor’ work in their discography seems unjust, but then anything that blossoms from the seeds laid here will likely be even more garish, more haunted, more graceful than this black mass.

This is smart, smooth, high thread count dance-punk.

As a pure entertainment piece, Twelve Reasons To Die appeals directly to the brain’s pleasure center.

Given her focus on the internal world she’s created, Night CRIÚ arrives feeling something like an emergence. Indeed, the emotions on display are still furtive and inscrutably personal, yet the music here is the most tangible Woods has offered to date, the most vivid.

Though it may be a bit brief or spare for some, Roxanne’s hand on her sound is tighter than ever. While it’s on, Because of a Flower gives us a glimpse into a very specific world of sound — aquatic, earthen, and airborne, all at once — and it is a treat to get lost in.

What Silberman’s managed to accomplish with Green to Gold is admirable. Instead of quitting music he’s pushed forward and accepted his limitations in pursuit of his passion.

Sympathy for Life‘s strongest moments come in the songs that sound least like the Parquet Courts we’ve known before.